Fornacis (2018)

Fornacis: Directed by Aurélia Mengin. With Alexandre Billaudaz, Aliénor Billaudaz, Emmanuel Bonami, Vincent Bouyer. Anya, a mourning woman, drives to the unknown in her vintage car, a 1961 Facel Vega. Her only traveling companion is a mysterious urn. Consumed by sadness and loneliness, Anya falls into a confused world, where the memories of her lover, Frida, and her fantasies are blended. In the middle of the night, Anya decides to make a stop at the FORNACIS, a godforsaken dive bar, to get some rest. In this atypical cellar, she meets Wolf. The two lost souls get along immediately, the night belongs to them for only few hours…

“When looking at the quartet of titles to be streamed on Saturday at the Cine-Excess festival, this one stood out to me thanks to how striking the photos and trailer for it were, leading to me looking at the stars.u003cbr/u003eu003cbr/u003eNote:This review contains spoilers.u003cbr/u003eu003cbr/u003eView on the film:u003cbr/u003eu003cbr/u003eDriving into walls plastered with 70u0026#39;s film posters, art director/lead actress/writer/director Aurelia Mengin u0026amp; cinematographer Nicolas Bordier sparkle the metallic stylisation ofnCinema Du Look into the Horror genre.u003cbr/u003eu003cbr/u003eMengin lines ruby reds, flashing pinks, blues and greens to burst from the deep synch score by Luke Kay,onto the dream-logic whip-pans running along the dive bar. Tightly holding a urn, Mengin opens Anya up with starling dips into symbolic Horror, as scales of buried mourning appear on Anyau0026#39;s back gazed from pristine fluid camera shots settling on Anyau0026#39;s sorrow.u003cbr/u003eu003cbr/u003eBorn from mourning the loss of a close friend,the screenplay by Mengin takes tremendous care in making each line in the limited dialogue build the numb, grieving state of Anya. Mengin casts the dive bar becoming progressively more peculiar,against Anya reaction to withdraw further into herself and place all emotion into the urn.”